The working methods of Alejandra Pizarnik as reviser, self-censor and translator: a detailed examination of her unpublished manuscripts.

这一研究将对20世纪中期阿根廷文学研究领域的进一步认识起到一定的推动作用。Alejandra Pizarnik是这一时期阿根廷诗歌的关键人物，但自从她因过量死亡以来，她一直被神话化。这个项目旨在通过对所有可用手稿材料的全面分析，使我们对她的作品的理解更加坚实，避免在她去世的情况下对她的生活进行还原和回顾性阅读。在我的第一本书中，有几篇文章和一半的篇幅专门论述了皮扎尼克的作品，最近又与卡尔·波索（Karl Posso）一起编辑了另一本关于这位诗人的论文集，我有能力对她的作品在普林斯顿的手稿进行原创性研究。'Árbol de Alejandra：Pizarnik Resassed“，（Támesis 2007年10月，编辑Macklett与Posso）从以前未探索的角度讨论了Pizarnik，例如Jason Wilson和Florinda Goldberg关于Pizarnik作为读者和评论家的文章（特别是超现实主义），塞西莉亚罗西的讨论翻译Pizarnik的工作成英语，或者我自己写的关于皮扎尼克笔记本的章节，她把笔记本里引用的其他作家的话称为“词汇宫”。在这一章中，我的兴趣在于，作为一个诗人，皮扎尼克的工作方法是如何涉及到大量引用和借鉴其他作者的作品的，这将她置于一个现代主义的框架中。在当前的项目中，我将建立并发展这一章的见解，看看翻译如何影响她的创作，并超越她的文本来源，看看她是如何修改和审查的。在没有任何学术评论版本的情况下，未出版的手稿材料非常重要，因此这个建议的紧迫性。虽然她的一些意象明显是超现实主义的，但她并没有利用超现实主义的自动写作技巧，而且在出版前确实痴迷地修改了她的作品。这一点在延伸的幽默散文作品《伯南布哥的海盗》（La bucanera de Pernambuco）中尤其如此，普林斯顿大学对这部作品进行了五次修订。因此，这一案文将被用作研究Pizarnik修订过程的重点;仔细研究对连续版本所作的修改，也可能揭示出在这一密集而困难的文本中所作的一些更模糊或淫秽的双关语和文化典故。她的修订工作的另一个方面将在本项目中得到进一步关注，那就是自我审查问题。《La bucanera》（评论家玛丽亚·内格罗尼（María Negroni）用皮萨尼克自己的话，用“volcanvelorio del lenguaje”来分析）几乎没有给人任何审查的印象，暗示性和厕所或荒谬的幽默，然而普林斯顿手稿显示了皮萨尼克的另一面。他们揭示了其他未出版的文本的存在，这些文本关注性，特别是女同性恋性，似乎影响了Pizarnik关于出版的决定。在她后期的作品中，Pizarnik不仅尝试在她的诗歌中更公开地表达性;除了评论家们一直认为的抒情诗之外，她还积极地探索用其他体裁来表达自己。因此，本项目将详细研究她未发表的散文作品，这些作品似乎吸收并发展了波德莱尔的散文诗等各种文学模式，法国形式的“récit”或Cortázar的“手册教学”从他的“Cronopios y de Famas”（1962年）。法国文学也发挥了它的一部分，通过她的活动形成Pizarnik的工作作为一个翻译从法国，她的输出这方面也将在这个项目进行审查。最近的研究揭示了Pizarnik的工作作为一个读者和评论家的重要影响;检查她的工作作为一个翻译将因此完成Pizarnik的工作方法的全貌。

This research will further knowledge in the field of Argentinian literary studies in the mid-20th century. Alejandra Pizarnik is a key figure in this period of Argentinian poetry, but one who since her death by overdose has been much mythologized. This project aims to ground our understanding of her work much more solidly in full analysis of all available manuscript material, avoiding reductive and retrospective readings of her life in the light of her death. Having devoted several articles and half of my first book to Pizarnik's work, and having recently edited (with Karl Posso) another volume of essays on this poet, I am in a strong position to carry out original research on the Princeton manuscripts of her work.'Árbol de Alejandra: Pizarnik Reassessed', (Támesis October 2007, ed. Mackintosh with Posso) addresses Pizarnik from previously unexplored angles, for example Jason Wilson and Florinda Goldberg's essays on Pizarnik as reader and critic (particularly of surrealism), Cecilia Rossi's discussion of translating Pizarnik's work into English, or my own chapter on Pizarnik's notebooks of quotations from other authors which she referred to as her 'palais du vocabulaire'. In this chapter my interest was in how Pizarnik's working methods as a poet involved extensive citation and borrowing from other authors, which places her in a Modernist framework. In the current project I will build on and develop the insights of that chapter, seeing how translation has an impact on her creation, and also looking beyond the source of her texts to the ways in which they are revised, and censored by her. In the absence of any scholarly critical edition of Pizarnik's works, the unpublished manuscript materials assume great importance, hence the urgency of this proposal. Although some of her imagery is markedly surrealist, she did not utilize surrealism's technique of automatic writing, and indeed obsessively revised her work before publication. This is particularly true in the case of the extended humorous prose work, 'La bucanera de Pernambuco', for which Princeton has five sets of revisions. This text would therefore be used as a focus for the study of Pizarnik's process of revision; closer examination of the changes made to the successive versions may also shed light on some of the more obscure or obscene puns and cultural allusions made in this dense and difficult text.In looking at Pizarnik's working methods, another aspect of her revisions which will receive further attention in this project is the issue of self-censorship. 'La bucanera' (which the critic María Negroni analyses in terms of a 'volcanvelorio del lenguaje', using Pizarnik's own phrase) gives little impression of any kind of censorship, insistently foregrounding sexuality and lavatorial or Absurd humour, yet the Princeton manuscripts show another side to Pizarnik. They reveal the existence of other unpublished texts whose focus on sexuality, particularly lesbian sexuality, appears to have influenced Pizarnik's decisions about publication. In her later works, Pizarnik was not only experimenting with more overt expression of sexuality in her poetry; she was also actively exploring expressing herself in genres other than the lyrical poetry with which critics persistently associated her. This project will therefore look in detail at her unpublished prose works, which appear to take and develop a variety of literary models such as Baudelaire's prose poems, the French form of the 'récit' or Cortázar's 'Manual de Instrucciones' from his 'Historias de Cronopios y de Famas' (1962).French literature also played its part in shaping Pizarnik's work through her activities as a translator from French, and this aspect of her output will also be examined by this project. Recent research has revealed the important impact of Pizarnik's work as a reader and reviewer; examining her work as a translator will thus complete the overall picture of Pizarnik's working methods.